When Eduardo Venegas stepped foot in Tucson, Ariz. in 1999, after a decade stint in the U.S. Air Force, he wasn’t sure what path life would divert him to. Certainly not one behind a camera or in a room trying to piece together a story through clips and dialogue. And little did he know that his interest in music would be the catalyst taking him into a world of pretend and imagination.
“I had actually heard that there was a director here locally, in Tucson, Ariz., shooting a full-feature film and I had a buddy who mentioned it to me and he said, ‘You know, I know you do music and maybe this guy would be interested in listening to your music,’” said Venegas. The director didn’t have any use for music at the time but invited Venegas to the set to observe the production.
“Lo and behold...I guess the sound guy had not shown up or wasn’t able to make it that day and he had mentioned to me they were looking for a sound guy and if I was interested in helping them out. It was kind of being in the right place at the right time,” he explained.
In due course, Venegas was mentored by the director and his crew, working as a production assistant, loader, gaffer and grip, launching him on a trajectory to produce independent films. “Originally, it was never that I was really interested in filmmaking, I was interested in the process, the production side of everything and obviously the music,” he said. Venegas took advantage of the situation soaking up as much knowledge as possible before venturing out on his own. Ben Lopez, presently the executive director of the National Association of Latino Independent Producers (NALIP) and the director who was gracious enough to invite Venegas onto the set, became his most influential mentor “I wouldn’t be doing films if it weren’t for him,” Venegas asserted. Through a less-is-more pedagogical approach, the teacher encouraged the student to find the answer; to climb the ropes rather than be shown them.
Venegas feels that Lopez’ methodology was a very effective, yet indirect, way to develop his erudition. “It kind of robs you of your own drive when people just kind of give you the answers,” he affirmed. Venegas, who left Del Rio when he was 16 years old, said that growing up in the faded and flat environment of 1980s Del Rio gave him a storytelling platform. A place and time that forced creativity and imagination out of the aspiring artist. “What I latched onto was the ability to tell your own story...It taught me you have to create your own opportunities,” he said.
After staking his cinematic claim, Venegas formed Maldito Films (www.malditofilms.com), his unintended quest to become a filmmaker coming to fruition. Maldito’s most recent project, “Redington” is an engaging short that is a vehicle for a web series based on the story. Venegas has received solid feedback on the production’s acting, aesthetic and editing. But the headliner waiting to go on stage is “Bonaparte.”
A tale of a man detoured from his path by family and the tense and contentious relationship he has with his father. Penned by Del Rio author, Ronnie Stich, the movie was slated to run 17 to 18 minutes. Venegas has shot nearly 60 minutes of film and now is almost certain that it will be turned into a full-length feature film. “Bonaparte is still not a 100 percent out there yet,” he revealed.
Currently, only a trailer has been released. However, that was enough to pique the interest of actor J.T. Campos from the highly-popular USA Network series, “Queen of the South,” who subsequently joined the project.
Venegas is projecting an October of 2018 release. Check Maldito Films out on social media at www.facebook.com/Malditofilms.